If Gaudí were to raise his head...

Wednesday evening saw the most apotheotic act of Pope Leo XIV's visit. The spectacle of the inauguration of the tower of Jesus was the celebration that connected most with civil society for its beauty and its link with Gaudí's architecture. Before this majestic moment, in the afternoon, public television channels delved into the events at the Sagrada Família. The broadcast on La 1 of TVE, with Pepa Bueno and Gemma Nierga, maintained a more formal tone, aware of when to speak and of the value of silence, without letting themselves be drawn into affectation. On La 2 Cat, in addition to the preliminaries with Oriol Nolis and Cristina Villanueva, they offered the ceremony with the utmost sobriety, with excellent Crisol Tuà and Anna Solé providing commentary. On TV3, the wait for the Pope's arrival with Toni Cruanyes and Núria Moliner was very well-crafted, especially the architectural content. But perhaps they wanted to do too many things at once. They exceeded themselves by dividing the screen into three and adding a graphic line that marred the image, crudely imitating Gaudí's theme. It looked like a PowerPoint template. Xavier Grasset took over with the start of the mass with an excess of rhetoric that often forgot the importance of the image and of silence. Beyond the mass, the event at the Sagrada Família connected with poetry in two moments: that of Valentina, the blind girl who explained the details of the cross of Jesus, and the moment the Pope lit a candle before Gaudí's tomb. Spirituality goes beyond sermons.The unforgettable and dazzling moment arrived with the dusk, after blessing the tower. A perfect calculation of the exact time. TV3 demonstrated its talent and quality in an excellent production. It was precise and majestic. It was as if Gaudí had foreseen the audiovisual and media potential of his great work. The fusion of light, music, and image was masterful. A show so well-crafted that it perfectly managed unforeseen events and last-minute changes. The perfect synergy with the production allowed a decisive element to finally appear that we had not yet seen since the Pope set foot in the State: mysticism. Beauty generated emotions that could be shared by citizens in a transversal way, without obliging religious convictions or the use of words. The pulses of light endowed the Sagrada Família with a soul, and the spectators, thanks to television as a privileged window, witnessed how spirituality crossed the basilica from top to bottom. Neither celebrities nor the rhetoric of experts, more old-fashioned than the Pope, are needed to move people. The use of drones with Gaudí's face contemplating his work was a symbolic way to bless the architectural epic in another way. "First love, then technique" is a message for everyone. If Gaudí were to lift his head, he would have seen the sublime hour of his work.